As the modern Mardukite movement gears up for its tenth active year, the long-term plans for Phase-10 are being divulged for the first time from the Mardukite Office and Council of Nabu… and all of them seem to involve the use of meditation, personal metaphysics and what many have called “magic” — the same practices which were at first held exclusively for remote communication with interdimensional or otherwise “alien” intelligences — will be explored and executed by the Mardukite Chamberlains in global efforts to force open portals, doorways and gateways for the New Age, bringing specific energies and frequencies into this realm that have previously been denied. Such almost seems like something from the pages of science fiction alone, but this is not the case. And in preparation for such undertakings for the following years, we turn our attention to the lore from the past where elements of such aspects may be best observed and even exploited.

“Arcanum” by Joshua Free, 10th Anniversary Edition

…One example we might turn to regards the subject of KHORONZON, here explained in this Mardukite NecroGate blog post as excerpted from the new 10th Anniversary edition of ARCANUM : THE GREAT MAGICAL ARCANUM by Joshua Free. While the archives and publishing array of the Mardukites has grown considerably in the past decade, it was the ARCANUM work that first attracted many early subscribers of the Mardukite underground.

KHORONZON… A powerful malignant force interpreted from the Enochian-Kabbalah system. Sometimes spelled “Choronzon” or “Coronzon,” the name refers to the “Fallen One,” or Apocalyptical Dragon, known in Enochian language as “telec vovim” or “Death Dragon.” Most scholars interpret this primordial force as “the Devil” or “Satan,” while Gnostics equate it with the Ialdabaoth energetic current. In the Necronomicon and ancient Sumerian-Babylonian tradition, Khoronzon is specifically defined as KUR, or Tiamat, the “first form” or “archetypal dragon” that leads the hordes of Ancient Ones. All traditions point to a force that is currently being kept beyond or outside of our time-space by the Gate to the Outside.

Leave it to Aleister Crowley to break through the gates of the Universe. Instead of using the Triangle of Solomon for Goetic evocation, a method used widely by ceremonialists for conjuring to physical appearance (typically within a mirror), Crowley traced the Triangle of Solomon in the sands of the Algerian desert in 1909, formed the space as a nemeton, stepped within the confines and conjured the spirit of Khoronzon into himself. Previously, Crowley had encountered the entity when he was exploring the developmental system of Aethyrs (which he skryed from the thirtieth to the first) working with one or two of the dimensions a day. At one point, Crowley finds himself stuck on a rung of the Ladder of Light. To go further would mean to break the seal to the Gate to the Outside from within his own mind, sharing an astral existence with the forces of Khoronzon. Of course, Crowley went ahead and did this anyway, and it changed him for the remainder of his life.

It is possible that Aleister Crowley did more than simply open the Gate to the Outside from within his own mind. Many spiritualists believe that when he did so, he unleashed many malignant forces into 20th Century civilization. This may have been a predetermined event. The Enochian System was “discovered” by John Dee and Edward Kelley, but they never successfully employed the system themselves, and were actually warned not to (by an angel named “Ave”). Then, 500 years later, Crowley appears, claiming to be the spirit of Kelley in a reincarnated form, and he effectively uses all of the Enochian Keys to perform his famous ritual working, his interpretation of the Great Work.

“Arcanum” by Joshua Free, 10th Anniversary Edition

Astral lore within the high magickal tradition sometimes makes references to places or spaces of “not” and “void” that exist between other aethyrs and dimensions of existence. The abyss represents the unknown, the most frightening and challenging state of mastery capable prior to the finality of Ascension. Sometimes the Dweller on the Threshold is not malignant, merely a guardian of sorts. In the case of Khoronzon, the entity exists between the aethyrs beyond all reasonable sensory perception. Legends suggest that there are still worshipers of the Ancient Ones, ever seeking to allow these forces to manifest in the Mid-Branch planes of human existence. But according to the apocryphal texts and prophecies, this final battle of “Sky Dragons” is inevitable.

Protection from the “Death-Dragon” requires a significant feat of magickal ability, perhaps the entirety of the Great Magickal Arcanum. The individual must exist within an established shell or strengthened Merkaba, with the personal energetic system (aura and chakras) strengthened and balanced from within a body of light. The belief is that forces kept behind the Gate to the Outside will represent a catastrophic event for natural existence. Some lore suggests the unnatural undoing of creation, the “un-creation,” a power allegedly held in the Tetragrammaton, the “Word.” The best advice for the seeker is to embrace the Clear Light within and become as a beacon of Truth to dispel the darkness…

Up until the current MARDUKITE efforts and work of Joshua Free, few of the publicly visible “New Age” writers and occult spokes-people really had much to say concerning the SIMON NECRONOMICON – many of them wishing it would just go away, or at the very least, that people would stop bothering them about it.

Needless to say, in the post-Lovecraftian world it was, up until the MARDUKITE efforts, the only of the ‘possible versions’ available to the public that was of ‘true’ and ‘authentic’ merit in regards to a historical tradition. Many people criticized the SIMON NECRONOMICON for not being Lovecraftian enough – which was interesting, since the same people also said that the book had been invented by Lovecraft.

NEW FIFTH ANNIVERSARY 2ND EDITION OF LIBER-555!

“The debate over the title of the work has never been satisfactorily resolved by or to anyone. The use of the term
by Lovecraft already comes from questionable sources (presumably his own dreams) – and why it should appear on an allegedly 7th-8th century manuscript is also unsettling, even assuming such to even be true. We have no real reason to believe that the Simon work should have held such a title, nor is the book ever referred to as such in its corpus. Therefore, the title itself may have been fabricated.” — explains Joshua Free in “Crossing to the Abyss: Unveiling the Secrets of Simon’s Necronomicon“br />

“It may be the manifestation of a tangible book – wholly obscure for its time – with the title across the front: Necronomicon – is what really launched the success of the book (contents aside). For many, the chances to own and possess such a legendary work was a dream come true. But as with many dreams and wishes, the dreamer does not always know what is for their own higher good. As soon as the Necronomicon was celebrated or coming into being, it was just as quickly renounced for its existence – and not simply by the right-wing and others you would normally expect, but by the same pulp-fiction fans who rejoiced in its arrival!”~ Liber-R, Necronomicon Revelations.

br />

This current discourse (Liber 555) is an expert commentary on the Simon Necronomicon as it appears – meaning a bastardized tradition emerging from the catacombs of ancient “Mardukite” Babylon. What we do not see evident, as we should expect (and clearly what threw many people off the track) is the lack of Lovecraftian themes in the Simon Necronomicon. Any mention or similarity within the text of the Simon work as compared to the ‘stories’ of H.P. Lovecraft is most likely the ‘creation’ of the modern editors in order to market their Mesopotamian Magic as the Necronomicon.

“For the moment, the current truth seeker will simply have to take the work at face-value. We can concur that the semantic title – Necronomicon – may very well be the creation of an early 20th century writer and that no such book, as he describes it, may exist verbatim. Assuming this, we might be quick to disregard any and all resources that bare this title – something which our own critics are often likely to do – but this is again, folly – and the human spirit should not be so easily ‘led about’ in their understanding based on the ‘languages’ and ‘title semantics’ adopted.”

In these types of post-Christian era accounts, such as we see with the Medieval and Dark Age era grimoires of the period, the magick and traditions are reflective to a ‘polarity’ that does not actually exist. For example, the entire idea behind ‘devil worship’ and ‘satanism’ is entirely dependent on the existence of these beings as they are generally understood – something which only came about as a result of the Judeo-Christian level of consciousness that came to occupy the masses. Prior to this ‘introduction’ of the ‘devil’ by Christian standards it would have been completely impossible to have proper ‘devil worship’ or satanism. The entire mythology that people are most likely to know regarding these matters is Hebrew and Christian in origin, making suggestion toward an understanding of the world based on a moral or ethical dualism that is not at all present in the traditions and writings of the more antiquated ancient world.

Unveil the secrets of Simon’s Necronomicon by expert occultist Joshua Free in the new Fifth Anniversary 2nd Edition of Liber-555: CROSSING TO THE ABYSS

After the rise of the Hermetic Order of the Golden Dawn in the late 1800’s (and perhaps also such groups as the Theosophical Society) the metaphysical world of the mystics would seem to begin appearing in the public spotlight, or at the very least carry an illusion of being maintained in public view…

…with this followed the widespread use of medieval grimoires – many of them somehow involved with figures like MacGregor Mathers and Aleister Crowley. Organizations relating to these individuals, such as the GD (Golden Dawn), OTO (Ordo Templi Orientis) and the lesser known AA (Argentium Astrum) begin to influence mystical practices and underground traditions among the multitudes on the surface world.

Naturally we are concerned foremost with the content of the Babylonian derived Necronomicon Anunnaki Bible of the Mardukite Chamberlains and its interconnected relationship to the Great Mysteries. However, the association of modern pseudoepigrapha (literally artificial writings) is not limited simply to a book called the “Necronomicon” – for such is just a name, as is “Al Azif” – or anything else we want to definitively give a solid form too – that which cannot be solidified – that which has not meant to be solidified…

“El Club Dumas” was released in Spain in 1993. The American English-speaking audience would have to wait three years to find “The Club Dumas” on their shelves. The literary version by Arturo Perez-Reverte became doomed to be lost amidst the mysteries of Agatha Christie and Sue Grafton and did not receive the same pop-culture attention as its motion picture under a different title.

The main character of the novel, Corso, set in a dusty environment of Antiquarian book-selling, is on a quest to uncover the truth of a lost fragment or chapter of the serial by Alexander Dumas, the famous “Three Musketeers”. In the course of events, Corso is culled into a different kind of quest… and there are surprisingly more people aware of the influence of this modern tale then you might originally suspect, for it is also known by another name – the name:

From its Spanish edition we deduce the title “Nine Doors to the Kingdom of Darkness,” though the American language version prefers “Gates” to “portals” – and thus too, the “Shadows” to the “Darkness.” American audiences are also more receptive to video media then literary and thus was probably the inclination Roman Polanski carried with him in filming “The Ninth Gate” with Johnny Depp, released in 1999. Depp’s performance is astounding as always and the woodcarved engravings that are so paramount to the film are taken directly from the illustrations found in Reverte’s novel.

It would surprise many occultists to note that the vein of pseudoepigrapha runs deep within the mystic stream – reaching all too familiar works as the “Keys of Solomon” or even the “Book of Abramelin” – it comes by no surprise that we should see the rise within this age of more tales of such “books within books” – “fantasies about fantasies” – for we have undoubtedly reached our ends in the world of Light and must by necessity reach out to the Shadows…

Assuming the lore of the Nine Gates, let us say that the work is based on yet too another book – furthering our psyche down the literary rabbit hole.

The DELOMELANICON (which is unarguably another vision of the Necronomicon Cycle) is a book reported to have been written by the “Devil himself” as a guide to “his followers.” The work, said to have once been in the possession of King Solomon, reaches the realm of Medieval Sorcery in 1666 by Aristide Torchia, who publishes his version of the “Devil’s Notebook” as “De Umbrarum Regni Novem Portis.” Both Torchia and all but three copies of this work are burned by the Church.

The title, “Delomelanicon,” the current editor translates to mean “Book of Summoning the Darkness” (very similar to the coveted but equally fantasy-based witches Book of Shadows) although some Chamberlains have preferred the translation “Invocation of Darkness” [as given in the Soto translation to English].

If we lend a thought to this for a moment, leaving the trappings of semantic vocabulary and verification of medieval sorcerer’s grimoires aside – consider a book then that has been given to a class of followers of an entity contrary to the accepted “God On Duty” – considered a devil to one side and a savior to the other.

Immediately, when thinking of the politics that arose in ancient Mesopotamia, beings like MARDUK and ENKI are immediately conjured to mind – or some specific alien intelligence that might have reason for leading folks back through the Gates. And if they would indeed be hidden in folds “between” the Realm or Reality of Light we see everyday, then they would most certainly belong to the Shadows – and the spaces between spaces.

The archetype conjured to mind by the “Nine Gates” is very similar to the Necronomicon. There is, at the very least, an obvious emphasis on the symbolism of “portals”, “thresholds” and “gateways” – such as is inseparably paramount to this lore. Following the esoteric and occult traditions, the “Gates” are introduced to the Seeker under the guise of “Darkness,” because such was (and remains to be) the perception of what is “forbidden” and “hidden” knowledge – at least from the perspective of the Realm of Light…

The stories that fueled the public knowledge of the Necronomicon are highly influenced by the writings of H.P. Lovecraft. His own perceptions may or may not even be related in his work, for Lovecraft seemed to downplay the impact that his work should inspire and attributed all of his inspiration to dreams and night-mares.

It was only after his death that his colleagues later dubbed the paradigm the “Cthulhu Mythos” and they continued to contribute to it. The tones and ideas reflective in the Lovecraftian paradigm are not only restricted to a book called the Necronomicon, but to an entirely new, alternative, counter-culture and ‘dark’ motif from which to view the world and life experience.
—Joshua Free, Liber 555

According to Lovecraft’s work, the primordial world is essentially “chaos” and the ‘gods’ which do battle in times forgotten will later have an impact on the psyche and life of those today. In fact, the entire ‘occult’ basis for the Lovecraftian paradigm is a devotion and ‘worship’ of this prehistoric ‘gods’.

The Great Old Ones being replaced by the Elder Gods becomes arbitrary when, following with Lovecraft’s perspective, there are those who secretly worship and feed these ‘evil’ gods throughout the ages in ‘cults’ – groups which seek to bring the Great Old Ones back into our time-space. This would effectively destroy the universe as we know it, returning it back to something reminiscent of the primordial ooze from which it has sprouted and devel-oped. This bleak and shadowy worldview is what drives the ‘horrific’ tales of not only Lovecraft’s work but anything that has been attached to it since, in oth-er literature, ‘rock bands’ and the like.

From the Lovecraftian perspective, the Necronomicon is an evil book that worshipers of these ancient cults use to honor the Great Old Ones (or Ancient Ones) in spite of their complete distaste for the human race and the fact the inviting such forces and energetic currents back into the realm that we know would be devestat-ing for all humanity. Of course, the teen-angst punker anarchist mindset doesn’t care about such things. The only aspect that would matter to these kinds of people is the fact that our world could be thrown into a state of discordia – and for many, this is what takes priority.

How any of these kinds of people can consider their left-handed and chaotic-evil pathways as any kind of true self-honest path to absolute enlightenment and the source is beyond me – though they will claim to be doing so; claiming that it somehow ‘suits’ them better and that everyone else is doing it wrong. Then they go back to their hedonism, narcissism, and pleasure seek-ing without any regard, always validating in their mind that they are “right” in their ways.

Being ‘stuck’ in old patterns is not simply restricted to the Necronomicon or even ‘mystical’ aspects in general. For similar reasons the modern “Mardukite” movement is predominantly made up of people who are in their twenties – or younger! Why? Because the new and next generations are not as interested in knowing things in the ‘fragmented’ way in which our parents may have been satisfied. The ‘older’ generations have no reason to change because they have had a far longer time to validate that things ‘are the way they are’ and who am I or anyone else to tell them different…

“Within post-Christian era mystical accounts, such as we see with the Medieval and Dark Age era grimoires of the period, the magick and traditions are reflective to a ‘polarity’ that does not actually exist.”
— Joshua Free, Liber 555

WHAT IS REAL??? — the entire idea behind ‘devil worship‘ and ‘satanism‘ (or the entire ‘left-hand’ interpretation of reality, as a whole) is entirely dependent on the existence of these beings as they are generally understood – something which only came about as a result of the Judeo-Christian level of consciousness that came to occupy the masses.

Prior to this ‘introduction’ of the ‘devil’ by Christian standards it would have been completely impossible to have proper ‘devil worship‘ or ‘satanism‘. The entire mythology that people are most likely to know regarding these matters is Hebrew and Christian in origin, making suggestion toward an understanding of the world based on a moral or ethical dualism that is not at all present in the traditions and writings of the more antiquated ancient world.

“Humans have always had a predilection to ‘patron’ one face of divinity over another. Such is programmed into their being and similarly the way in which ‘order’ was first introduced to the most ancient of the modern human civilizations. The idealism of monotheism is not as prevalent in the ancient world either.”— Joshua Free, Liber-555

While all mystics and spiritualists understood the concept of the ‘unifying’ and ‘supreme’ force that tied all existence together, they also understood that such did not
make a direct ‘physical’ and ‘singular’ presence in the material ‘level’ of perception encountered everyday. Therefore, there was no confusion about the nature of the ‘divinity‘ held by ancient men in their encounters with the ‘ancient gods’.

“The idea that the Necronomicon emphasizes ‘darkness’ or that it is an ‘evil’ book all stems from the idea of it reflecting a pre-Christian ideal from the ancient world that immediately is dubbed ‘pagan’ or ‘satanic’ when reflected in a Judeo-Christian light.”

If the NECRONOMICON is ‘evil’, then it would be ‘evil’ in the same light as all ‘neo-pagan’ reconstructions including Celtic Druidism, Norse Shamanism and obviously any of the pantheons and cultural traditions being revived by Wiccans and members of other ‘sects’, ‘societies’ and ‘orders’ in the occult realm of society.

Most of the ‘forbidding’ nature connected to the NECRONOMICON comes first and foremost from the ‘air’ that it carries, remnant of the literary styling H.P. Lovecraft attached to it and then secondly, from the overtones given to the ‘occult’ in the 1970’s for the release of the Simon Necronomicon – and even the very marketing of the book as that name and the ‘dangerous’ and ‘forbidding’ aura that the title carries…